FOR PERSONAL ASSISTANCE & SERVICE: Hand-Built in the U.S.A. Using High-Quality Compo- Nents Sourced Domestically and Around

Total Page:16

File Type:pdf, Size:1020Kb

FOR PERSONAL ASSISTANCE & SERVICE: Hand-Built in the U.S.A. Using High-Quality Compo- Nents Sourced Domestically and Around POWER REQUIREMENTS •Utilizes standard 9V alkaline battery (not included). NOTE: Input jack activates battery. To conserve energy, unplug when not in use. Power Consumption: approx. 21mA. •USE DC POWER SUPPLY ONLY! Failure to do so may damage the unit and void warranty. DC Power Supply Specifications: -9V DC regulated or unregulated, 100mA minimum; -2.1mm female plug, center negative (-). Optional factory power supplies are available: Tech 21 Model #DC9 . Also operable via previous models: #DC2 and #DC4. WARNINGS: • Attempting to repair unit is not recommended and may void warranty. • Missing or altered serial numbers automatically void warranty. For your own protection: be sure serial number labels on the unit’s back plate and exterior box are intact, and return your warranty registration card. ONE YEAR LIMITED WARRANTY. PROOF OF PURCHASE REQUIRED. Manufacturer warrants unit to be free from defects in materials and workmanship for one (1) year from date of purchase to the original pur - chaser and is not transferable. This warranty does not include damage resulting from accident, misuse, abuse, alteration, or incorrect current or voltage. If unit becomes defective within warranty period, Tech 21 will repair or replace it free of charge. After expiration, Tech 21 will repair defective unit for a fee. ALL REPAIRS for residents of U.S. and Canada: Call Tech 21 for Return Authorization Number . Manufacturer will not accept packages without prior authorization, pre-paid freight (UPS preferred) and proper insurance. FOR PERSONAL ASSISTANCE & SERVICE: Contact Tech 21 weekdays from 9:00 AM to 5:00 PM, EST. Hand-built in the U.S.A. using high-quality compo - nents sourced domestically and around the globe. T: 973-777-6996 • F: 973-777-9899 E: [email protected] • W: tech21nyc.com ©2019 Tech 21 USA, Inc. TECH 21, THE COMPANY PRODUCT OVERVIEW Tech 21 was formed by a guitarist possessing the unusual combination Geddy Lee has been performing without onstage amps and speakers since of a trained ear and electronics expertise. In 1989, B. Andrew Barta made the Test for Echo Tour in 1996, favoring major household appliances his invention commercially available to players and studios around the instead. Wanting to streamline and simplify his gear for new projects, Geddy initially partnered with Tech 21 to design a signature SansAmp, the world. His highly-acclaimed, SansAmp ™ pioneered Tube Amplifier GED-2112. This challenging collaboration involved distilling a rackload of Emulation in professional applications for recording direct and performing equipment into a single rackspace. According to Geddy, “The GED-2112 live, and created an entirely new category of signal processing. There have is really a continuation of my long-time approach to bass tone. A ‘deep since been many entries into this niche, yet SansAmp continues to main - clean’ tone coupled with the ‘edgy crunch’ I get from the SansAmp RPM tain its reputation as the industry standard. now all in one box.” With a full line of SansAmp models, Tech 21 also offers effect pedals and Challenging ourselves, to bring a super-compact, portable alternative, we further distilled the rackmount into a pedal format. The SansAmp YYZ MIDI products, as well as “traditional” style amplifiers for guitar and bass. offers Geddy’s core sound and the versatility for many different styles. Each product is thoughtfully and respectfully designed by B. Andrew Barta himself with the player in mind. Our goal is to provide you with flexible, Tech 21’s proprietary, 100% analog circuitry gives your instrument a versatile tools to cultivate, control, refine and redefine your own individ - natural warmth and presence as if you were miking your instrument through a tube pre-amp. For studio and live applications, our SansAmp ual sound. Tech 21 takes great pride in delivering consistent quality sound, Tube Amplifier Emulation technology enables you to run directly into studio to studio, club to club, arena to arena. mixers of recording desks and PA systems, as well as augment your exist - ing amplifier set-up. With each Tech 21 product, the controls are designed to give you the freedom and opportunity to explore, create, build and rebuild your sound. It is our hope that the SansAmp YYZ will be a useful tool for stimulating your creativity and, ultimately, providing the inspiration to play your best. 1 2 APPLICATIONS SIGNAL LEVEL TO INPUT WITH A BASS AMP RIG: The SansAmp YYZ is designed to accommodate instrument level signals to the -As a Stomp Box: Run the 1/4” Output into the front input of an amp Input, such as the output of a guitar, the output of (other) distortion pedals, etc. or incorporate into your pedalboard chain. For best results, keep the SansAmp YYZ’s Level close to unity gain so For normal operation, signal level to Input should be close to that of a stan - as not to overload the amp’s input, which could yield undesirable distortion. dard bass guitar (approx -10dB / 250mV). Hotter signals can over-overdrive NOTE: Unity gain is when you have the same volume coming from the amp the Input of the SansAmp YYZ, even in the cleanest settings, which may result whether the pedal is on or off --which is not necessarily at 12 o’clock. in undesirable distortion. NOTE: Should you purposely or accidentally send a -As a Pre-Amp: Run the 1/4” Output of the SansAmp YYZ directly into hot signal, it will not harm the unit. the power amp input, a.k.a. “effects return” (if applicable), of an amp. This will bypass the tone-coloring pre-amp section of the amp rig. THE INS AND OUTS Observe Standard Audio Procedure: TO DRIVE A POWER AMP TURN (SansAmp YYZ) ON FIRST. TURN OFF LAST. Run the 1/4” Output of SansAmp YYZ into the input of a power amp and To avoid unwanted and potentially speaker-damaging “pops” when connecting adjust your stage volume with the Level control of the SansAmp YYZ. or disconnecting any equipment, always mute mixing board and/or turn down amp volume before plugging or unplugging! TO RECORD DIRECT You can plug directly into the input of a mixer/recorder and use the on-board 1/4” INPUT: 1megOhm high impedance input, same as traditional tube sounds of SansAmp YYZ. Bear in mind full-range systems yield a wide frequen - amps. Also switches battery power on/off. To avoid battery drain, unplug cy response. Therefore, we suggest you start with the EQ levels of SansAmp when unit is not in use. YYZ at 12 o’clock and increase/decrease to taste. 1/4” UNIVERSAL OUTPUT: Unbalanced low Z output. SansAmp’s BE CREATIVE! technologically advanced, single Universal Output is physically compatible for SansAmp YYZ is not necessarily just for bass. Try it with cellos, keyboards, fid - dle, drums, sax, harmonica, vocals, etc. Also try using SansAmp YYZ in other any application: full range (tape, studio monitors, P.A., stereo) and limited applications, such as reamping in mixdowns to liven up existing tracks. range (rack systems, pre-amps, head and cabinet, combos, practice amps). WARNING: DO NOT run the speaker output of any amp directly into the SansAmp YYZ. Doing so may result in severe damage to the amp and/or the SansAmp YYZ. 3 4 GUIDE TO CONTROLS The Drive side is based upon the GED-2112 Geddy Lee Signature SansAmp The GED-2112 Geddy Lee Signature SansAmp rackmount introduced a new rackmount, for a wide range of sonic possibilities. format for Parallel Pre-Amping --having two separate internal pre-amps that run in parallel. Following this concept, the SansAmp YYZ pedal adapts the MASTER architectural structure to simplify blending the two signal paths via its own Controls the overall volume. Adjusts the output level without altering any of Mix control. the tonal characteristics. For recording applications , we recommend setting at least halfway DRIVE SECTION (12 o’clock). DRIVE For best results with an amplifier , the output level of the SansAmp Adjusts the overall amount of gain and overdrive, similar to when the output YYZ should be close or equal to the signal in bypass. Otherwise, it could over - section of a tube amp is being pushed. Also controls the input sensitivity with load the input of the amp and result in undesirable, ratty distortion. (Don’t say clean sounds. For fatter, more robust clean sounds, increase Drive until it we didn’t warn you!) starts to distort, then gradually decrease until it disappears. PLACEMENT ORDER OF OTHER EFFECTS HIGH and LOW For best results, plug your instrument directly into the SansAmp YYZ. This will These active tone controls cut or boost ±12dB from unity gain at 12 o’clock. preserve the interactive nature of the unit. When incorporating into a pedal - High is 3.2kHz. Low is 80 Hz. board, we suggest experimenting to find the order that’s best for you. As a general guide, we recommend: MID 2kHz @ 20dB boost Place the following effects BEFORE the SansAmp YYZ: 1kHz @ 10dB cut Compressor, Envelope Filter/Follower, Fuzz Box, Pre-Amp, Wah-Wah. Place the following effects AFTER the SansAmp YYZ: TIGHT BUTTON Chorus, Delay, EQ, Pitch Shifter, Reverb. Adds definition to your notes in cleaner settings and make distorted tones snappier. MIX SECTION MIX Blends the ratio of high-end studio clean (Deep) and dirty bass tube amp tones (Drive). The Deep side offers thick, meaty tones, with a preset EQ curve custom tai - lored to Geddy’s personal specs. 5 6 NOTEWORTHY NOTES 1) SansAmp YYZ is an interactive tool. It will react differently to various signal levels, as well as your individual touch. For instance, a hotter signal and a heavy hand will increase the gain structure and result in more overdrive.
Recommended publications
  • Rush Three of Them Decided to - Geddy Recieved a Phone Reform Rush but Without Call from Alex
    history portraits J , • • • discography •M!.. ..45 I geddylee J bliss,s nth.slzers. vDcals neil pearl: percussion • alex liFesDn guitars. synt.hesizers plcs: Relay Photos Ltd (8); Mark Weiss (2); Tom Farrington (1): Georg Chin (1) called Gary Lee, generally the rhythm 'n' blues known as 'Geddy' be­ combo Ogilvie, who cause of his Polish/Jewish shortly afterwards also roots, and a bassist rarely changed their me to seen playing anything JUdd, splitting up in Sep­ other than a Yardbirds bass tember of the sa'l1le year. line. John and Alex, w. 0 were In September of the same in Hadrian, contacted year The Projection had Geddy again, and the renamed themselves Rush three of them decided to - Geddy recieved a phone reform Rush but without call from Alex. who was in Lindy Young, who had deep trouble. Jeff Jones started his niversity was nowhere to be found, course by then. In Autumn although a gig was 1969 the first Led Zeppelin planned for that evening. LP was released, and it hit Because the band badly Alex, Geddy an(i John like needed the money, Geddy a hammer. Rush shut them­ helped them out, not just selves away in their rehe­ providing his amp, but also arsal rooms, tUfned up the jumping in at short notice amp and discovered the to play bass and sing. He fascination of heavy was familiar with the Rush metaL. set alreadY, as they only The following months played well-known cover were going toJprove tough versions, and with his high for the three fYoung musi­ voice reminiscent of Ro­ cians who were either still bert Plant, he comple­ at school or at work.
    [Show full text]
  • Geddy Lee DI-2112 Signature
    POWER REQUIREMENTS •Utilizes two (2) standard 9V alkaline batteries (not included). NOTE: Input jack activates batteries. To conserve energy, unplug when not in use. Power Consumption: approx. 55mA. Geddy Lee Signature •USE DC POWER SUPPLY ONLY! Failure to do so may damage the unit and void warranty. DC Power Supply Specifications: SansAmp DI-2112 -18V DC regulated or unregulated, 100mA minimum; -2.1mm female plug, center negative (-). •Refer to “Power Considerations” in Noteworthy Notes on page 8. WARNINGS: • Attempting to repair unit is not recommended and may void warranty. • Missing or altered serial numbers automatically void warranty. For your own protection: be sure serial number labels on the unit’s back plate and exterior box are intact, and return your warranty registration card. ONE YEAR LIMITED WARRANTY. PROOF OF PURCHASE REQUIRED. Manufacturer warrants unit to be free from defects in materials and workmanship for one (1) year from date of purchase to the original pur - chaser and is not transferable. This warranty does not include damage resulting from accident, misuse, abuse, alteration, or incorrect current or voltage. If unit becomes defective within warranty period, Tech 21 will repair or replace it free of charge. After expiration, Tech 21 will repair defective unit for a fee. ALL REPAIRS for residents of U.S. and Canada: Call Tech 21 for Return Authorization Number . Manufacturer will not accept packages without prior authorization, pre-paid freight (UPS preferred) and proper insurance. FOR PERSONAL ASSISTANCE & SERVICE: Contact Tech 21 weekdays from 9:00 AM to 5:00 PM, EST. Hand-built in the U.S.A.
    [Show full text]
  • Orpe=Civ= V=Kfdeq Italic Flybynightitalic.Ttf
    Examples Rush Font Name Rush File Name Album Element Notes Working Man WorkingMan.ttf Rush Logo, Album/Song RUSH Working Man Titles Fly By Night, regular and FlyByNightregular.ttf. orpe=civ=_v=kfdeq italic FlyByNightitalic.ttf Caress Of Steel CaressOfSteel.ttf Rush Logo, Album Title Need to Photoshop to get the correct style RUSH CARESS OF STEEL Syrinx Syrinx.ttf Rush Logo, Album/Song RUSH 2112 Titles ALL THE WORLD'S A STAGE (core font: Arial/Helvetica) Cover text Arial or Helvetica are core fonts for both Windows and Mac Farewell To Kings FarewellToKings.ttf Rush Logo, Album/Song Rush A Farewell To Kings Titles Strangiato Strangiato.ttf Rush Logo Similar to illustrated "Rush" Rush Hemispheres Hemispheres.ttf Album Title Custom font by Dave Ward. Includes special character for "Rush". Hemispheres | RUSH THROUGH TIME RushThroughTime RushThroughTime.ttf Album Title RUSH Jacob's Ladder JacobsLadder.ttf Rush Logo Hybrid font PermanentWaves PermanentWaves.ttf Album Title permanent waves Moving Pictures MovingPictures.ttf Rush Logo, Album Title Same font used for Archives, Permanent Waves general text, RUSH MOVING PICTURES Moving Pictures and Different Stages Exit...Stage Left Bold ExitStageLeftBold.ttf Rush Logo RUSH Exit...Stage Left ExitStageLeft.ttf Album Title Exit...Stage Left SIGNALS (core font: Garamond) Album Title Garamond, a core font in Windows and Mac Grace Under Pressure GraceUnderPressure.ttf Rush Logo, Album Title, Upper Case character set only RUSH GRACE UNDER PRESSURE Song Titles RUSH Grand Designs GrandDesigns.ttf Rush Logo RUSH Grand Designs Lined GrandDesignsLined.ttf Alternate version Best used at 24pt or larger Power Windows PowerWindows.ttf Album Title, Song Titles POWER WINDOWS Hold Your Fire Black HoldYourFireBlack.ttf Rush Logo Need to Photoshop to get the correct style RUSH Hold Your Fire HoldYourFire.ttf Album Title, Song Titles HOLD YOUR FIRE A Show Of Hands AShowofHands.ttf Song Titles Same font as Power Windows.
    [Show full text]
  • GEDDY EASTON 'LEE Master of the ,Hook Bass + Power = Progressive Pop ERIC 'JOHNSON the Wat M Tone of a TEXAS TWISTER
    - 802135 MAY 1986 $2.50 Inside This Issue: A SPECIAL Billy Idol's STEVE STEVENS (not -so-secret) CASSETTE Secret See Page 54 Weapon For Details THE CARS' RUSH'S ELLIOT GEDDY EASTON 'LEE Master Of The ,Hook Bass + Power = Progressive Pop ERIC 'JOHNSON The Wat m Tone Of A TEXAS TWISTER PLUS: Lonnie Mack Albert Collins Roy Buchanan , 'Tony MacAlpine o Curtis Mayfield MORE BASS, MORE SPACE IN THE MODERN WORLD Power Windows is the best Rush albutn in years because the band ----and the bass---- has returned to the roots of its sound ... tneticulously. BY JOHN SWENSON It has been a long, vertiginous and damn exciting roller coaster ride for Rush over the past decade-and-a-half. The group has gone from being unabashed Led Zeppelinites to kings of the concept album to the thinking man's heavy metal band to an uneasy combination of eighties record­ ing styles and seventies relentlessness. One thing Rush has never done is rest on its collective laurels-bassist Geddy Lee, guitarist Alex Lifeson and drummer Neil Peart have always been the first to point out the band's shortcomings when they feel legitimate deficiencies have surfaced. Accordingly, Lee was quick to admit his dissatisfaction with the band's last album, Grace Under Pressure , even though the record , which went platinum, has con­ solidated the band's position as one of Mercury/Polygram's most important acts. "We realized with Grace Under Pres­ sure ," said Lee on completion of the new album , Power Windows, "that we were not a techno-pop band.
    [Show full text]
  • Killing Hope U.S
    Killing Hope U.S. Military and CIA Interventions Since World War II – Part I William Blum Zed Books London Killing Hope was first published outside of North America by Zed Books Ltd, 7 Cynthia Street, London NI 9JF, UK in 2003. Second impression, 2004 Printed by Gopsons Papers Limited, Noida, India w w w.zedbooks .demon .co .uk Published in South Africa by Spearhead, a division of New Africa Books, PO Box 23408, Claremont 7735 This is a wholly revised, extended and updated edition of a book originally published under the title The CIA: A Forgotten History (Zed Books, 1986) Copyright © William Blum 2003 The right of William Blum to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Cover design by Andrew Corbett ISBN 1 84277 368 2 hb ISBN 1 84277 369 0 pb Spearhead ISBN 0 86486 560 0 pb 2 Contents PART I Introduction 6 1. China 1945 to 1960s: Was Mao Tse-tung just paranoid? 20 2. Italy 1947-1948: Free elections, Hollywood style 27 3. Greece 1947 to early 1950s: From cradle of democracy to client state 33 4. The Philippines 1940s and 1950s: America's oldest colony 38 5. Korea 1945-1953: Was it all that it appeared to be? 44 6. Albania 1949-1953: The proper English spy 54 7. Eastern Europe 1948-1956: Operation Splinter Factor 56 8. Germany 1950s: Everything from juvenile delinquency to terrorism 60 9. Iran 1953: Making it safe for the King of Kings 63 10.
    [Show full text]
  • The Spirit of May '97
    the spirit of May '97 Issue 38 . • • ..• ..• • ..• Editor/ill Hello and welcome to yet once again agreed to supply us now and it improves with every another action packed issue of with a selection of items, for use listen (check out how to order a The Spirit of Rush. We have in the raffle/auction part of the copy direct on the inside back tried to get this issue to you as event. Some ofthe confirmed cover)-any news of a UK! soon as we could after no.37 in items are as follow ... Roll the European release Chris? From case any of you were planning Bones - Award Plaque. the opening fusion sounding Editorial Address: a trip to North America to catch Complete sets of the re­ "Patterns" through the epic nd the band on the 2 leg of the mastered albums, Tour closing number 23 Garden Close, t4e tour. You should have Merchandise & some other "Checkerboards" Tiles cover all ChinbrookRoad, picked this issue up in mid-May surprises. As you can see the the bases, why this band are Grove Park,· from your doormat (if all went band and their management not signed to a major label is London, SE12 9TG. well between here and the have been very generous once beyond belief. Personal England printers). As you read this only again. Many, many thanks to favourites include "Anothers a couple of weeks of the 2nd leg them. Hand" and It's marvellous mid­ would have taken place and section extended instrumental North America with the tour running until the We have included a page or two passage.
    [Show full text]
  • Rush's Lyrical Rhetoric of Oppression and Liberation
    Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation Rush’s Lyrical Rhetoric of Oppression and Liberation: Extending “Freedom Songs” into the Progressive Rock Genre Brett A. Barnett Associate Professor of Communication Slippery Rock University of Pennsylvania [email protected] Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation 2 On April 18, 2013, members of the Canadian power trio Rush were among the artists inducted into the Rock and Roll Hall of Fame, a well-deserved honor that was long overdue. Formed in August 1968, Rush would join artists like Pink Floyd and Yes in shaping the music movement that would come to be categorized as “progressive” rock, or “prog rock,” a rock music sub-genre that Rush. Photo credit: By Enrico Frangi (Uploaded by User:Jonasz) [Public domain], via Wikimedia Commons also developed in the late 1960s.1 As reflected in the music of Rush, progressive rock involves more advanced musical forms, including an expanded instrumental palette and increased com- plexity in terms of instrumentation, as well as more sophisticated lyrical themes ranging from unconventional subject matter to increased social commentary. After years playing on the Toronto music scene, Rush formed their own label, Moon Records, and shortly thereafter released their first album, Rush, in 1974.2 Rush’s self-titled debut album did not garner much attention until Cleveland’s WMMS (100.7 FM), widely regarded as one of the most influential rock radio stations in North America,
    [Show full text]
  • Foreword 5 Introduction 6 About This Book 8 the Making of Taking Center Stage 14 Drum Key 30
    TAKING CENTER STAGE a lifetime of live performance NEIL PEART by Joe Bergamini © 2012 Hudson Music LLC International Copyright Secured. All Rights Reserved. No part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher. www.hudsonmusic.com ConTenTsConTenTsConTenTs Foreword 5 Introduction 6 About This Book 8 The Making of Taking Center Stage 14 Drum Key 30 CHAPTER 1: 2112 and All the World’s a Stage Tours (1976-77) 33 Drum Setup 35 CHAPTER 2: A Farewell to Kings Tour (1977) 36 Drum Setup 39 CHAPTER 3: Hemispheres Tour (1978-79) 40 Drum Setup 42 ”The Trees” 43 Analysis 43 Drum Transcription 45 “La Villa Strangiato” 49 Analysis 49 Drum Transcription 51 CHAPTER 4: Permanent Waves Tour (1979-80) 58 Drum Setup 60 ”The Spirit of Radio” 61 Analysis 61 Drum Transcription 62 ”Free Will” 66 Analysis 66 Drum Transcription 68 ”Natural Science” 73 Analysis 73 Drum Transcription 75 CHAPTER 5: Moving Pictures Tour (1980-81) 81 Drum Setup 84 ”Tom Sawyer” 85 Analysis 85 Drum Transcription 87 ”YYZ” 91 Analysis 91 Drum Transcription 93 CHAPTER 6: Signals Tour (1982-83) 97 Drum Setup 101 ”Subdivisions” 102 Analysis 102 Drum Transcription 104 CHAPTER 7: Grace Under Pressure and Power Windows Tours (1984-86) 108 Drum Setup 113 ”Marathon” 114 Analysis 115 Drum Transcription 116 2 CHAPTER 8: Hold Your Fire Tour (1987-88) 122 Drum Setup 126 ”Time Stand Still” 128 Analysis 128 Drum Transcription 129 CHAPTER 9: Presto Tour (1990) 134 Drum Setup 136 ”Presto” 138 Analysis 138 Drum Transcription 140 CHAPTER
    [Show full text]
  • Due to Overwhelming Demand Clockwork Angels Tour to Continue in 2013
    RUSH: DUE TO OVERWHELMING DEMAND CLOCKWORK ANGELS TOUR TO CONTINUE IN 2013 RUSH TO VISIT 20+ CITIES THROUGHOUT NORTH AMERICA IN 2013 Tickets on sale in select markets beginning January 28th at LiveNation.com LOS ANGELES, CA (January 22nd, 2013) – Live Nation announced today that due to overwhelming demand, the highly acclaimed RUSH Clockwork Angels Tour will return to North America for a selection of dates this summer. Beginning in April, fans will be able to catch RUSH in a number of new markets not visited on last year’s highly successful tour. Tickets for the Clockwork Angels Tour will go on sale starting January 28th in select markets at Ticketmaster.com and LiveNation.com. “The faithful came and RUSH delivered. Epic. Profound. Joyous. Incredible." – Buffalo News “A mind-blowing 3 hour concert...simply put Rush is EPIC!” – Dallas Morning News Rush’s 20th studio album, Clockwork Angels has earned rapturous accolades by fans and press alike since its release June 12th of last year. The Quietus described Clockwork Angels as “an extremely accomplished piece of music composed and performed absolutely flawlessly”. Q magazine called the taut songcraft “utterly engaging.” Rolling Stone declared “the power-trio interplay could put guys half their age in the burn ward,” while All Music Guide succinctly summed up “Clockwork Angels demonstrates why, after 36 years, Rush’s fan base continues to grow. Its musical athleticism and calisthenic discipline are equaled only by its relentless creative drive and its will to express it in a distinct musical language.” The Guardian UK claimed, "Those who worship at the temple of Rush will be in raptures; for those who remain agnostic, there may well be enough here to justify a leap of faith." At the end of 2012, Rush won both the Band of the Year and Album of the Year awards at the Classic Rock Awards in London, UK.
    [Show full text]
  • GEDDY LEE of RUSH the Rush Bassist and His Band Are Marking 30 Prog-Rocking Years Together with Their Rush in Rio CD and DVD
    -4i·iMiUii'lt -- ------------------------------------ -- -- - By VIC GARBARINI GEDDY LEE OF RUSH The Rush bassist and his band are marking 30 prog-rocking years together with their Rush in Rio CD and DVD. Now, Lee pays homage to the music that keeps him warm on cold Canadian nights. much more theatrical. The music "HOW MANY wasn't about people stepping out MORE TIMES?" and doing bluesy solos; they were Led Zeppelin taking a high level of musicianship and weaving it into the guts of the Led Zeppelin song, playing with layers of melody, SWAN SONG, 1969 odd time signatures and strange "I saw them in Toronto at a little place guitar riffs. What fascinated me was called the Rockpile, We were in the how these intricate parts all sup­ second row, and when ported one another-and the song:' they played this song it just blew me away, It reaffirmed for me all "3/5 OF A MILE the creative potential INTEN in blending hard rock with progressive SECONDS" music. John Paul Jefferson Airplane Jones was the unsung hero in that Bless Its Pointed Little Head V>w~ band. What bass player of that period RCA. 1969 z didn't know how to play that riff? I still "A great live record, where the band 3- jam to it sometimes at soundchecks," takes some risks and really changes '" the arrangements, especially rhyth- § "THICK AS mically. Jack Casady, one of the truly " A BRICK" great, underrated bass players, is the .: star of this record. His tone was very ~ Jethro Tull different from other American 0::.
    [Show full text]
  • February 2017
    Sunday Services *Celebration of the Lord’s Supper Journey Worship • 8:45 am Theme: Back on Track Feb. 5* Rev. Patrice Fowler-Searcy Feb. 12 Rev. Heather Schoenewolf Feb. 19 Rev. Dr. Randy Bush newsletter of east liberty presbyterian church Feb. 26 Rev. Patrice Fowler-Searcy February 2017 Sanctuary Worship • 11 am Feb. 5* Rev. Dr. Randy Bush Feb. 12 Rev. Dr. Randy Bush A Celebration of Black Song Feb. 19 Rev. Heather Schoenewolf Join us on Sun., Feb. 12, Feb. 26 Rev. Dr. Randy Bush at 3 pm, for an uplifting afternoon of song in honor of Black History Month, featuring musicians from the Labyrinth Prayer Walk ELPC Music Ministry. Mondays • 7 am–1 pm Wednesdays • 9 am–9 pm This performance is free and open to the public, so bring your friends. A freewill offering will be received. Taizé Prayer Service Wednesdays • 7 pm Live stream available at ELPC.church Rev. Mary Lynn Callahan Attend our Congregational Meeting All congregation members of ELPC are encouraged to attend our annual club one sixteen Congregational Meeting following worship on Sun., Feb. 26, in the Social For children and youth in grades 1–12 Hall. Lunch will be provided prior to the meeting in which reports and Wednesdays, from 3:30–7:30 pm financial budgets will be reviewed. Nominations for the incoming slate of officers (elders, deacons, Centennial Fund member) also will be otedv on. Senior high youth will begin a new theme by asking the big questions. Copies of the Annual Report will be available on Sun., Feb. 19 and 26.
    [Show full text]
  • How Is Rush Canadian?
    Rush and Philosophy 2nd pages 3/11/11 1:56 PM Page 287 21 How Is Rush Canadian? DURRELL BOWMAN Given Canada’s relatively small population (twenty-one million in 1969, thirty-four million in 2009), many—but certainly not all—of the nation’s more ambitious musicians have pursued at least some of their career activities in the US and other foreign parts. Rush mainly demonstrates “Canadianness” by combining such British and American influences as progressive rock, hard rock, and indi- vidualism. However, the band has also included more specifically Canadian references across its long career. CanCon The Canadian government implemented specific content—or “CanCon”—regulations in 1971, and broadcasters were then required to include certain percentages of Canadian material. For music, at least two of a song recording’s four main categories of Music, Artist, Production, and Lyrics (“M-A-P-L”) must be “Canadian” according to citizenship or location. The interpretation of this changed after 1991, due to a “scandal” involving Bryan Adams failing to qualify as Canadian because of co-writing certain songs, such as “(Everything I Do) I Do it For You” ( Waking up the Neighbours and Robin Hood: Prince of Thieves , both 1991), with such non-Canadians as Mutt Lange and Michael Kamen. (Spelling the word “neighbours” in the Canadian way apparently didn’t help.) The outcome is that even though Shania Twain similarly co- wrote the songs on Come on Over (1997) with her then-husband Mutt Lange and did not record any of this music in Canada, her album and its songs by that point qualified as Canadian.
    [Show full text]